"on Nijinsky, considered this 1980 film a ""travesty"". Nijinsky (film) Nijinsky is a 1980 American biographical film directed by Herbert Ross. Hugh Wheeler wrote a screenplay that explores the later life and career of Vaslav Nijinsky; it was based largely on the premier danseur's personal diaries (a bowdlerized 1936 version was edited and published by his wife, Romola de Pulszky), and her 1934 biography of Nijinsky, largely ghostwritten by Lincoln Kirstein, who later co-founded the New York City Ballet. The film suggests Nijinsky was driven into madness by both his consuming ambition and self-enforced heterosexuality. He became involved with Romola"
"fear of hospitalization and confinement. He filled it with drawings of eyes, as he felt himself under scrutiny, by his wife, a young doctor Frenkel, and others. Finally Romola arranged a consultation in Zurich with the psychiatrist Eugen Bleuler in 1919, asking her mother and stepfather for help in getting Nijinsky there. His fears were realized; he was diagnosed with schizophrenia and committed to Burghölzli. After a few days, he was transferred to the Bellevue Sanatorium, ""a luxurious and humane establishment directed at that time by Ludwig Binswanger."" In 1920, Nijinsky's second daughter Tamara was born. She never saw him"
"confined for most of his remaining 30 years. He was treated at Burghölzli and the Bellevue Sanatorium in Kreuzlingen. He was originally diagnosed as schizophrenic by Eugen Bleuler in 1919. He was treated by a number of psychiatrists with minimal results. In 1920, while he was still undergoing treatment, Romola Nijinsky gave birth to their second daughter, Tamara. After Nijinsky became an invalid and institutionalized, Romola shifted from bisexuality and had only lesbian affairs for the rest of her life. In 1934 she published what would be her first biography of her husband, ""Nijinsky by Romola Nijinsky"". She discovered the"
"Romola de Pulszky Romola de Pulszky (or Romola Pulszky), (married name Nijinsky; 20 February 1891 – 8 June 1978), was a Hungarian aristocrat, the daughter of a politician and an actress. Her father had to go into exile when she was a child, and committed suicide in Australia. As a young woman she became interested in dance and specifically Vaslav Nijinsky, the noted ""premier danseur"" of the Ballets Russes. They married in Buenos Aires in 1913 while the company was on tour. They had two daughters, before he was institutionalized for the remaining 30 years of his life for schizophrenia."
"cancelled, and Nijinsky was left with a considerable financial loss. Newspapers reported a nervous breakdown. His physical vulnerability had been aggravated by the great stress. Romola was pregnant, so the couple returned to Budapest, Austro-Hungary, to his mother-in-law Emilia Markus' house. Their daughter Kyra was born on 19 June 1914. With the start of the Great War (World War I), Nijinsky was classified as an enemy Russian citizen. He was confined to house arrest in Budapest and could not leave the country. The war made problems for the Ballets Russes too; the company had difficulty recruiting dancers and Fokine returned"
"1946 Irina had married Gibbs S. Raetz; they had two children, Natalie and George. In 1991 at age 77, Irina Nijinska died in a hospital room in Inglewood after suffering a stroke. Irina Nijinska Irina Nijinska (20 November 1913 - 2 July 1991) was a Russian-Polish ballet dancer. After her own career was cut short, she spent much of her life promoting the work of her mother, Bronislava Nijinska, the dancer and choreographer. Irina Nijinska was born in St Petersburg, the daughter of Nijinska and dancer Alexander Kotchetovsky; her uncle was the world famous dancer Vaslav Nijinsky. After her brother"
"Bronislava Nijinska Bronislava Nijinska (; , ""Bronislava Fominichna Nizhinskaya"", ); ( – February 21, 1972) was a Polish ballet dancer, and an innovative choreographer. She came of age in a family of professional dancers. Her career began in Saint Petersburg, soon ventured with Ballets Russes to Paris, but later but met difficulties in war-time 'Petrograd' and turbulent Kiev. In France again public acclaim for her works quickly rose, cresting in the 1920s. She enjoyed continuing successes then in Europe and the Americas. Nijinska played a pioneering role in the broad movement that diverged from 19th-century classical ballet. Her introduction of"
"dance in public. For the next 30 years, Nijinsky was in and out of psychiatric hospitals and asylums. During 1945 after the end of the war, after Romola had moved with him to Vienna, he encountered a group of Russian soldiers in an encampment, playing traditional folk tunes on a balalaika and other instruments. Inspired by the music and hearing his first language, he started dancing, astounding the men with his skills. Drinking and laughing with them helped him start to speak again. He had maintained long periods of almost absolute silence during his years of illness. His wife Romola"
"Irina Nijinska Irina Nijinska (20 November 1913 - 2 July 1991) was a Russian-Polish ballet dancer. After her own career was cut short, she spent much of her life promoting the work of her mother, Bronislava Nijinska, the dancer and choreographer. Irina Nijinska was born in St Petersburg, the daughter of Nijinska and dancer Alexander Kotchetovsky; her uncle was the world famous dancer Vaslav Nijinsky. After her brother Leo was born in Kiev in 1919, her parents separated. Her mother took her two children west in 1921, eventually settling in France. Trained as a dancer in Paris, Irina made her"
"public, ""Jeux"" was eclipsed two weeks later by the premiere of Igor Stravinsky's ""The Rite of Spring"" (""Le Sacre du printemps""), also choreographed by Nijinsky. Because of mental illness, Nijinsky eventually retired from dance; he was diagnosed with schizophrenia. Léonide Massine was born in Moscow, where he studied both acting and dancing at the Imperial School. On the verge of becoming an actor, Massine was invited by Sergei Diaghilev to join the Ballets Russes, as he was seeking a replacement for Vaslav Nijinsky. Diaghilev encouraged Massine's creativity and his entry into choreography. Massine's most famous creations for the Ballets Russes"
"in his hotel suite. She ""almost cried with thankfulness"" that he showed no interest in making love on their wedding night. On returning to Paris, Nijinsky anticipated returning to work on new ballets, but Diaghilev did not meet him. Eventually he sent a telegram to Nijinsky informing him that he was no longer employed by the Ballets Russes. Nijinsky had missed a performance in Rio when Romola was ill, and only a dancer's own illness, certified by a doctor, was allowed to miss a performance. Diaghilev also usually dismissed dancers who married. This was perhaps beside the point, since Nijinsky"
"leave for New York with the aid of Diaghilev and international political leaders. They embarked on a tour of North America, followed by a tour to South America. During Nijinsky's final three-year engagements with the Ballets Russes, he had struggled to help manage the tours, which caused him a great deal of stress. The family settled in St Moritz, Switzerland until the end of the Great War. Two months after the armistice at the end of World War I, Nijinsky began to exhibit signs of a severe psychosis. He was committed to a series of Swiss mental institutions, and was"
"Sergei Diaghilev's Ballets Russes specifically to seduce Nijinsky. After a series of misunderstandings with Diaghilev, who is both his domineering mentor and possessive lover, Nijinsky succumbs to Romola's charms and marries her. After this, his gradual decline from artistic moodiness to a diagnosis of schizophrenia begins. Reception to ""Nijinsky"" is mixed. It holds a 40% rating and an average score of 5.6/10 at Rotten Tomatoes. In his review in ""Time"", Richard Schickel opined, ""Some people will be titillated by the openness with which homosexual love is portrayed in the film. But this is mostly a slow, cautious biography, elegantly attentive"
"couvade syndrome. This gave Diaghilev legal grounds to fire him, which he did via a telegram. He generally did not keep any married dancers in the company. Romola gave birth to Kyra Nijinsky in Vienna, Austria on 18 June 1914, ten days before the assassination of Archduke Franz Ferdinand of Austria. With the outbreak of war, the newlywed couple and their infant daughter were classified as enemy aliens because of Nijinsky's Russian nationality; they were put on house arrest at the home of Romola's mother, Emilia Markus Pulszky. After two years as war prisoners in Hungary, they gained permission to"
"deteriorated under the stress of Nijinsky's becoming principal choreographer and his pivotal role in the company's financial success. Diaghilev could not face Nijinsky to tell him personally that he would no longer be choreographing the ballet ""Joseph"", but instead asked his sister Bronia Nijinska to deliver the bad news. The company was to embark on a tour of South America in August 1913. Nijinska, who had always worked closely with her brother and supported him, could not accompany the tour because she had married in July 1912 and become pregnant. In October 1912 their father had died while on tour"
"including ""L'après-midi d'un faune"" (1912) to music by Claude Debussy, ""Jeux"" (1913), and ""Till Eulenspiegel"" (1916). At the premiere of ""Le Sacre du Printemps"" (1913) in Paris, with music by Igor Stravinsky, fights broke out in the audience between those who loved and hated this startling new style of ballet and music. ""Faune"" caused controversy because of its sexually suggestive final scene. Nijinsky originally conceived ""Jeux"" as a flirtatious interaction among three males, although Diaghilev insisted it be danced by one male and two females. In 1913, Nijinsky married Hungarian Romola de Pulszky while on tour with the company in"
"Nijinska would have refused to become involved with politics or intrigue."" She was replaced by Léon Wójcikowski. With Ballets Russes since 1916 Leon Woizikovsky (1899-1975) had enjoyed prominent roles in Nijinska's ""Les Noces"", ""Les Biches"", and ""Le Train Bleu"" (as the Golfer). In 1939 he led the Ballet Polonais to the World's Fair in New York. ""The company returned to Warsaw one day before the German invasion of Poland on September 1, 1939, and was never heard from again."" Woizikovsky himself found work in the Americas during the war. Much later he helped in reconstructing Nijinska's choreography for Diaghilev's ""Ballets"
"of the celebrated Vaslav Nijinsky, she was a major artist in her own right and a key figure in the development of twentieth-century ballet. ... As one of twentieth-century's ballet's great innovators, she transformed the art ... During a 1913 Ballets Russes tour in South American, Nijinsky married Romola de Pulszky, which created controversy. Nijinsky was alone, as Nijinska's pregnancy had kept her in Europe. She explains in her memoirs that Vaslav was very reserved and, other than herself, had few confidants or close colleagues in the dance world. When her brother married in 1913, Diaghilev terminated his position at"
"and ""Nocturne"" (1919) and ""Marche Funèbre"" (1920), music by Chopin. These solo dances may be ""the first abstract ballets"" of the 20th century. Accordingly, she first received broad recognition as a choreographer. Then Nijinska, invited by the Ministry of Arts, mounted a full theatrical production of the Tchaikovsky ballet ""Swan Lake"", in which she adapted the classic Petipa and Ivanov choreography of 1895. The performance was held at Kiev's State Opera Theater. It had been reported in the literature that Nijinska and family left Kiev in 1921 in order to visit her brother Vaslav Nijinsky in Vienna, after learning of"
"diary her husband wrote over a period of six weeks in 1919 before being committed to an asylum in Switzerland. ""Nijinsky had long been unreachably psychotic when his wife, Romola, discovered the manuscript in an old trunk, then sanitized and published it to feed the legend of which she had become both guardian and beneficiary."" She published a ""bowdlerized"" version in 1936. In 1936, she heard about a new treatment for schizophrenia and contacted the founder, Manfred Sakel, to have her husband treated. In 1938, Nijinsky began to receive regular insulin shock therapy (IST) over the course of a year,"
"daughter Tamara Nijinsky grew up with her maternal grandmother, never getting to see her father dance. Later she has served as Executive Director of the Vaslav & Romola Nijinsky Foundation, founded by her mother, to preserve art and writing associated with her parents, and her father's dances. Nijinsky's ""Diary"" was written during the six weeks in 1919 he spent in Switzerland before being committed to the asylum to Zurich. It reflected the decline of his household into chaos. He elevated feeling and action in his writing. It combined elements of autobiography with appeals for compassion toward the less fortunate. Discovering"
"Russes"". Yet for Nijinska in pre-invasion Poland, the ""shock of her dismissal"" and ""the impending war caused a profound depression."" Nijinska and her family were in London when World War II started with the combined Nazi and Soviet invasion of Poland (September 1939). She had a contract to ""co-direct the dance sequences on a new film, ""Bullet in the Ballet"","" but it was cancelled due to war. Fortunately, an offer from promoter de Basil allowed them to make their way back to the United States. She eventually established a new residence in Los Angeles. Nijinska in 1939 began to choreograph"
"her mother eventually reached some understanding. In 1912 her father died in Russia. Her oldest brother Stanislav (Stassik), by a doctor's instructions placed in a sanitariums since 1902, died in Russia in 1918. In 1921 Nijinska with her mother Eleanora Bereda Nijinska and her two children left Russia, a perilous undertaking. They made their way to Austria, to meet her brother, his wife, and children. Nijinska then rejoined Ballets Russes, chiefly in Paris and Monte Carlo, until 1925. Thereafter she worked independently, often on tour. Throughout Bronislava remained close to her mother the retired dancer whom she called ""Mamusia"". She"
"as Wacław Niżyński, to ethnic Polish parents, touring dancers Tomasz Niżyński (b. 7 March 1862) and Eleonora Bereda (b. 28 December 1856). Nijinsky was christened in Warsaw. He identified himself as Polish although he grew up in the interior of Russia with his parents and he had difficulty speaking Polish. Eleanora, along with her two brothers and two sisters, was orphaned while still a child. She started to earn a living as an extra in Warsaw's Grand Theatre Ballet (Polish: ""Teatr Wielki""), becoming a full member of the company at age thirteen. In 1868 her talent was spotted and she"
"In 1952 Romola published her second biography of Nijinsky, called ""The Last Years of Nijinsky"". Romola Nijinsky died in Paris on 9 September 1978. In 1995, an unexpurgated English edition was published of ""The Diary of Vaslav Nijinsky"", edited by Joan Acocella, a professional writer about dance, and in a new translation by Kyril FitzLyon. The ""New York Times"" review said that this edition showed that his original diary was severely ""bowdlerized"" by his wife in the versions she published in 1936 and later. His diary reflected the decline of his household into chaos before he was committed to an"
"grief she experienced when in the end Diaghilev had sided with Cocteau over ""Le Train Bleu"". She wanted to lead her own company. Another reason was the 1924 arrival of the dynamic George Balanchine (1904-1983), with an experimental dance troupe from the Soviet Union. Diaghilev recognized his demonstrated talent and recruited him for Ballets Russes. Balanchine filled the choreographer position vacated by Nijinska. In 1925 Nijinska found sufficient financing to form her ballet company: Théâtre Chorégraphiques Nijinska. It was a chamber ensemble that employed eleven dancers. The Russian avant-garde visual artist Alexandra Exter designed the costumes and sets. Nijinska had"
"Giuseppe Picone Giuseppe Picone (born 21 February 1976) is an Italian ballet dancer. Picone was born in Naples, Italy and trained at the Ballet School of the Teatro di San Carlo. At the age of twelve he was chosen by Beppe Menegatti to dance the role of the young Nijinsky in the world première of the ballet ""Nijinsky"", with Carla Fracci and Vladimir Vasiliev. He also trained at the Accademia Nazionale di Danza in Rome and won both competitions of Rieti and Positano. Under the invitation of Pierre Lacotte at sixteen years old, he joined Ballet National de Nancy as"
"was awarded the Nijinsky Prize in Paris. After retiring as a ""Danseur Noble"" in 1972, Bruhn danced character roles, such as Madge the Witch in ""La Sylphide"", Dr. Coppelius, and ""Petrushka"". He was director of the Swedish Opera Ballet from 1967 to 1973 and the National Ballet of Canada from 1983 until his death in 1986. Although twice offered the directorship of the Royal Danish Ballet, he twice declined the post. His productions of full-length Classical Ballets, such as ""La Sylphide"", ""Giselle"", ""Coppélia"", and his somewhat controversial ""Swan Lake"" for the National Ballet of Canada, were well received, as were"
"1972, in Pacific Palisades, California, after suffering a heart attack. She was 81. She was survived by her daughter, son-in-law, and two grandchildren. Bronislava Nijinska Bronislava Nijinska (; , ""Bronislava Fominichna Nizhinskaya"", ); ( – February 21, 1972) was a Polish ballet dancer, and an innovative choreographer. She came of age in a family of professional dancers. Her career began in Saint Petersburg, soon ventured with Ballets Russes to Paris, but later but met difficulties in war-time 'Petrograd' and turbulent Kiev. In France again public acclaim for her works quickly rose, cresting in the 1920s. She enjoyed continuing successes then"
"the US being agreed to for the autumn. Kahn did not get on with Diaghilev and insisted Nijinsky should manage the tour. Massine and Diaghilev returned to Europe, leaving Nijinsky to dance and manage a company of more than 100 for a salary of $60,000. Nijinsky was also to prepare two new ballets. Rehearsals for ""Till Eulenspiegel"" did not go well; Nijinsky's poor communication skills meant that he could not explain to dancers what he wanted. He would explode into rages. Pierre Monteux, the conductor, refused to take part in performances because he did not want to be associated with"
"Nijinsky danced The Rose and Tamara Karsavina danced The Young Girl. It was a great success. ""Spectre"" became internationally famous for the spectacular leap Nijinsky made through a window at the ballet's end. In 1911, Ballet Russes producer Sergei Diaghilev hoped to present Nijinsky's ballet ""L'Après-midi d'un faune"". It was not ready for the stage, so he needed another ballet to take its place. That ballet was the idea of writer Jean-Louis Vaudoyer. In 1910, he had sent an idea for a ballet to Ballets Russes set and costume designer Léon Bakst. His idea was based on """"""Le Spectre de"
"to Russia. Diaghilev started negotiations in October 1914 for Nijinsky to work again for the company, but could not obtain release of the dancer until 1916. The complex negotiations included a prisoner exchange with the United States, and agreement that Nijinsky would dance and choreograph for the Ballets Russes' tour. King Alfonso XIII of Spain, Queen Alexandra of Denmark, Dowager Russian Empress Marie Feodorovna, Emperor Franz Joseph I of Austria and Pope Benedict XV all interceded on his behalf. Nijinsky arrived in New York on 4 April 1916. The tour had already started in January with a number of problems:"
"the thing lies with Nijinsky – the fabulous Nijinsky, the peerless dancer, who as the faun does no dancing... His movements are at once abrupt and stealthy. He leaps once. This one leap is a surprise and an illumination. It is a full evocation of a being half-boy, half-brute, consummate and uncanny."" In 1931, shortly after the death of Diaghilev, when some of his dancers settled in London, the Rambert Ballet took ""L'Après-midi d'un faune"" into its repertoire; Leon Woizikovsky, who had danced the faune in the last years of the Diaghilev company and learnt from Nijinsky, reproduced the ballet"